Movement Research at the Judson Church – May 5th, 2014

Featuring works by Jeanine Durning*, Saùl Ulerio**, Phoebe Morris, Deborah Hazler †.

From Jeanine Durning: Last summer, I began a research into the practice of what I bluntly call nonstop moving. For the purposes of Judson tonight, Molly, Julian and I will be sharing 15 minutes of what normally is an hour-long practice. Nonstop moving is in direct relation to and continuation of the practice of nonstop speaking that I began in 2009 and then started to publicly perform as the work I call inging in 2010. The overall project of nonstopping manifests out into the world, into action, and relation. The term nonstop is a decidedly chosen one, as opposed to perpetual or continual, because it points to the critical nature of what it takes to keep going in the midst of questions, doubts, and inevitable failures and limitation. The practice of nonstop moving understands dance as “being on the way,” meaning that it never quite arrives but is always in a state of becoming. This is especially relevant to me in these times of making statements about what has “value,” defining what has “purpose,” and labeling what is “useful.” What if dance’s value, purpose and usefulness is precisely and simply in the rigorous act of doing it – that which produces excess, cleaves meaning, accepts multiplicity and is constantly moving towads without delineating its borders or destination?
This work was made possible, in part, through The Movement Research Artist-in-Residence Program, funded, in part, by the Mertz Gilmore Foundation and the Davis/Dauray Family Fund.

 

transcendental preparatory exercise no. 6 part c “untitled”
Saùl Ulerio
This work was made possible, in part, through the Movement Research Artist-in-Residence Program, funded, in part, by the Davis/Dauray Family Fund and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

 

Powered by Emotion
Created by Phoebe Morris in collaboration with performers Daniel Bozhkov, Terry Hempfling, Arkadiy Ryabin and Elizabeth Ward
Music by Martin Zeichnete, East German Olympics Program Composer 1972-1983
In Powered by Emotion, five performers playing the role of gymnasts, inhabit ritualistic actions grounded in references to contemporary energy drink advertisements and the East German Olympic team’s performance-enhancing program. The performers appropriate formal artistic gymnastics choreography and aesthetic branding in sports to examine questions of representation, authenticity and progress.

 

Cruel Expectations
Concept: Deborah Hazler
Performance and Development: Deborah Hazler, Milan Loviška
Artistic Advisor: Ursula Maria Probst
Costume and Set Design: Anke Philipp. Co-production: Raw Matters and WUK performing arts.
Supported by the Cultural Department of the City of Vienna (MA7) and the Ministry of Arts, Culture and Education Austria, Szene Salzburg. Travel Support: Austrian Cultural Forum (NY). Premiere: June 5th 2014, WUK performing arts, Vienna
Cruel Expectations turns to the comedy form of slapstick to investigate cruelty and violence from the point of absurdity. Taking inspiration from artists such as John Wood and Paul Harrison, Marina Abramovic and Ulay and Bruce Nauman, the performers Deborah Hazler and Milan Loviška push their own boundaries searching for the line between fake and real violence

*2013, **2012 Movement Research Artist in Residence
† With support from Austrian Cultural Forum New York

  • May 12th, 2014
  • Movement Research Staff

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